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Books > History > Raja Deen Dayal (The Studio Archives From the IGNCA Collection)
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Raja Deen Dayal (The Studio Archives From the IGNCA Collection)
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Raja Deen Dayal (The Studio Archives From the IGNCA Collection)
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Description
Foreward

One of the major of the Indira Gandhi National Centre for the Arts (IGNCA) is to serve as a comprehensive resource centre acting as a tool for research and a repository for academic reference.

With this objective in mind, the Cultural Archives of IGNCA has acquired collections of select art objects as well as audio-visual material related to the visual and performative arts of India. A significant aspect of the IGNCA Archives is its varied and rare photographic collection of works, by Sunil Janah, Shambhu Saha, D R D Wadia, Henri Cartier-Bresson and above all more than 2,500 glass-plate negatives, camera and lenses, registers of photographs as well as studio props and equipment from Raja Deen Dayal’s studio in Hyderabad.

Working amidst several accomplished European and Indian photographers in the second half of the nineteenth century, Raja Deen Dayal distinguished himself as photographer of great technical skill and aesthetic merit. Deen Dayal received patronage both of the British Govt and nobility as well as the Indian princes. Deen Dayal is also renowned for his documentation of India’s heritage sites and monuments of cultural and archaeological importance, which became the early source material for the study of Indian art and architecture.

The exhibition ‘Raja Deen Dayal: The Studio Archives from the IGNCA Collections’ showcases a cross-section of photographs of this distinguished lensman, from the Cultural Archives of IGNCA, which I hope will be of interest to specialists as well as the general public. With the inauguration of this exhibition, IGNCA also opens to the citizens a large twin gallery ideal for holding curated exhibitions of photography, one-man-shows, group shows, and retrospective shows of significant artists as well as exhibition pertaining to any momentous aspect of art and culture, especially Indian.

Alongside the new twin art galleries, IGNCA also opens a well-equipped conference room as well as a small auditorium with a seating capacity of 175 for holding lectures, film screenings, and small-scale music, dance and theatrical performances.

Contents

Foreword 9  
Curatorial Note-Raja Deen Dayal:The Studio Archives from the IGNCA Collection 10  
Raja Deen Dayal (1844-1905)-Background 12  
Technical comment-Reproductions in the exhibition 14  
Raja Deen Dayal:Glimpses into his Life and work 17  
Documenting Indian Antiquites 21  
Mir Mahoob Ali Khan the Sixth Nizam of Hyderabad 26  
Views of Nizam's Places and territory 32  
Sighting the Nizam's Dominions 34  
The Nobility in Hyderabad 36  
Spectacles of The Hunt 41  
Capturing colonial India 47  
Ruling Prices of India 53  
Children on Camera 57  
Studio Portratis 61  
The Raja Deen Dayal & Sons Studios 64  
Captions 68  
Select bibliography 76  
Appendix I 77  
Appendix II 78  
Acknowledgments 81  

 

Sample Pages






Raja Deen Dayal (The Studio Archives From the IGNCA Collection)

Item Code:
NAP303
Cover:
Hardcover
Edition:
2010
Language:
English
Size:
12.0 inch X 8.5 inch
Pages:
81 (Throughout Color Illustrations)
Other Details:
Weight of the Book: 690 gms
Price:
$67.00   Shipping Free - 4 to 6 days
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Foreward

One of the major of the Indira Gandhi National Centre for the Arts (IGNCA) is to serve as a comprehensive resource centre acting as a tool for research and a repository for academic reference.

With this objective in mind, the Cultural Archives of IGNCA has acquired collections of select art objects as well as audio-visual material related to the visual and performative arts of India. A significant aspect of the IGNCA Archives is its varied and rare photographic collection of works, by Sunil Janah, Shambhu Saha, D R D Wadia, Henri Cartier-Bresson and above all more than 2,500 glass-plate negatives, camera and lenses, registers of photographs as well as studio props and equipment from Raja Deen Dayal’s studio in Hyderabad.

Working amidst several accomplished European and Indian photographers in the second half of the nineteenth century, Raja Deen Dayal distinguished himself as photographer of great technical skill and aesthetic merit. Deen Dayal received patronage both of the British Govt and nobility as well as the Indian princes. Deen Dayal is also renowned for his documentation of India’s heritage sites and monuments of cultural and archaeological importance, which became the early source material for the study of Indian art and architecture.

The exhibition ‘Raja Deen Dayal: The Studio Archives from the IGNCA Collections’ showcases a cross-section of photographs of this distinguished lensman, from the Cultural Archives of IGNCA, which I hope will be of interest to specialists as well as the general public. With the inauguration of this exhibition, IGNCA also opens to the citizens a large twin gallery ideal for holding curated exhibitions of photography, one-man-shows, group shows, and retrospective shows of significant artists as well as exhibition pertaining to any momentous aspect of art and culture, especially Indian.

Alongside the new twin art galleries, IGNCA also opens a well-equipped conference room as well as a small auditorium with a seating capacity of 175 for holding lectures, film screenings, and small-scale music, dance and theatrical performances.

Contents

Foreword 9  
Curatorial Note-Raja Deen Dayal:The Studio Archives from the IGNCA Collection 10  
Raja Deen Dayal (1844-1905)-Background 12  
Technical comment-Reproductions in the exhibition 14  
Raja Deen Dayal:Glimpses into his Life and work 17  
Documenting Indian Antiquites 21  
Mir Mahoob Ali Khan the Sixth Nizam of Hyderabad 26  
Views of Nizam's Places and territory 32  
Sighting the Nizam's Dominions 34  
The Nobility in Hyderabad 36  
Spectacles of The Hunt 41  
Capturing colonial India 47  
Ruling Prices of India 53  
Children on Camera 57  
Studio Portratis 61  
The Raja Deen Dayal & Sons Studios 64  
Captions 68  
Select bibliography 76  
Appendix I 77  
Appendix II 78  
Acknowledgments 81  

 

Sample Pages






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